The essays in this edited collection look at the role of poetry in the development of Enlightenment ideas. As scholarly disciplines began to emerge – anthropology, linguistics, psychology – the ancient art of poetry was invoked to create new ways of defining and expanding this philosophy of human science.
Explores the creative work of writers and theologians who used their poetic writings as a means to explore and envisage scenarios of embodiment and existence that extended to life after bodily death.
Thrall examines the deeply ingrained and often unexamined notions of racial difference across time and space. Through a consideration of historical documents and paintings, Natasha Trethewey--Pulitzer-prize winning author of Native Guard--highlight the contours and complexities of her relationship with her white father and the ongoing history of race in America.
Tracing the prehistory of the French prose poem, Fabienne Moore demonstrates that the genre emerges nearly a century before it is generally supposed to have existed. Moore links the development of this new genre with the period's thinking about language and poetic invention, as she argues that scientific, philosophical, and socioeconomic upheavals prompted a paradoxical return during the Enlightenment to sources such as Homer, the pastoral, Ossian, the Bible, and primitive eloquence.
THE POETRY OF ENLIGHTENMENT contains translations and commentaries of ancient Chinese Ch'an (Zen) masters poems. The poems provide guidance for all students of meditation.
What warranted the skewering of Richard Bentley (whom Rhodri Lewis called “perhaps the most notable—and notorious—scholar ever to have English as a mother tongue”) by two of the literary giants of his day? Kristine Haugen offers a fascinating portrait of Europe’s most infamous classical scholar and the intellectual turmoil he set in motion.
John Keats is generally considered to be the least intellectually sophisticated of all the major Romantic poets, but he was a more serious thinker than either his contemporaries or later scholars have acknowledged. This book provides a major reassessment of Keats's intellectual life by considering his engagement with a formidable body of eighteenth-century thought from the work of Voltaire, Robertson, and Gibbon to Hutcheson, Hume, and Smith.The book re-examines some of Keats's most important poems, including The Eve of St Agnes, Hyperion, Lamia, and Ode to Psyche, in the light of a range of Enlightenment ideas and contexts from literary history and cultural progress to anthropology, political economy, and moral philosophy. By demonstrating that the language and ideas of the Enlightenment played a key role in establishing his poetic agenda, Keats's poetry is shown to be less the expression of an intuitive young genius than the product of the cultural and intellectual contexts of his time.
The essays in this edited collection look at the role of poetry in the development of Enlightenment ideas. As scholarly disciplines began to emerge – anthropology, linguistics, psychology – the ancient art of poetry was invoked to create new ways of defining and expanding this philosophy of human science.
In The Unfinished Enlightenment, Joanna Stalnaker offers a fresh look at the French Enlightenment by focusing on the era's vast, collective attempt to compile an ongoing and provisional description of the world. Through a series of readings of natural histories, encyclopedias, scientific poetry, and urban topographies, the book uncovers the deep epistemological and literary tensions that made description a central preoccupation for authors such as Buffon, Bernardin de Saint-Pierre, Diderot, Delille, and Mercier. Stalnaker argues that Enlightenment description was the site of competing truth claims that would eventually resolve themselves in the modern polarity between literature and science. By the mid-nineteenth century, the now habitual association between description and the novel was already firmly anchored in French culture, but just a century earlier, in the diverse network of articles on description in Diderot and d'Alembert's Encyclopédie and in the works derived from it, there was not a single mention of the novel. Instead, we find articles on description in natural history, geometry, belles-lettres, and poetry. Stalnaker builds on the premise that the tendency to view description as the inevitable (and subservient) partner of narration—rather than as a universal tool for making sense of knowledge in all fields—has obscured the central place of description in Enlightenment discourse. As a result, we have neglected some of the most original and experimental works of the eighteenth century.
This collection of twelve critical essays on women's poetry of the eighteenth century and enlightenment is the first to range widely over individual poets and to undertake a comprehensive exploration of their work. Experiment with genre and form, the poetics of the body, the politics of gender, revolutionary critique, and patronage, are themes of the collection, which includes discussions of the distinctive projects of Mary Leapor, Ann Yearsley, Helen Maria Williams, Joanna Baillie, Charlotte Smith, Anna Barbauld and Lucy Aikin.